Janis Joplin Has Got Dem Ol’ Kozmic Blues Again Mama!

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  • With outstanding Double Plus (A++) sound from first note to last, Janis is ROCKIN’ on this very quiet original copy
  • This pressing has the ideal combination of openness and transparency, coupled with the richness and solidity of vintage analog
  • When Janis starts singing, watch out – her voice positively jumps out of the speakers, something we heard on very few copies in our shootout
  • Features Try, one of Janis’s All Time Classics — and with these grades you can be sure it sounds positively amazing here

This Columbia 360 Label is the cure for Dem Ol’ Kozmic Blues!

Drop the needle on the great song Try and just listen to how crisp, punchy, and BIG the drums sound. When Janis starts singing, watch out — her voice positively JUMPS out of the speakers, something we didn’t hear her do on any other copies quite as well.

The bottom end has real weight and the top end is silky and extended. The overall sound is richer, fuller, and smoother than any side one we’ve ever played.

ENERGY is the key element missing from most copies, but not on this bad boy (or girl if you prefer). The electric guitars are super Tubey Magical and the bass is solid and punchy. (more…)

Billie Holiday – Music For Torching

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  • With excellent Double Plus (A++) sound or BETTER on both sides, this is a killer copy of one of Billie’s best
  • Not only that, but this pressing plays as quietly as any we can find – Mint Minus to Mint Minus Minus
  • A superb recording of jazz standards with a great lineup and Billie in top form, as well as Tubey Magical sound, with especially breathy vocals
  • Great versions (and lovely sound) for It Had to Be You, Come Rain or Come Shine, A Fine Romance, and too many more to list
  • “The overall feeling on this 1955 recording… is strictly after-hours: the party is long over but a few close friends remain for nightcaps and, is that the sun peeking through the windows?” — Allmusic

You’d be hard-pressed to find a female vocal album from the 1950s with sound comparable to this one. We just finished up a big shootout for the sublimely titled Music For Torching, and this lovely copy was clearly one of the better pressings we played. If you love smoky jazz standards the way only Lady Day can sing them, we think you’ll be blown away to hear her sound this warm, rich and present. (more…)

Elvis Costello – My Aim Is True – More 180g Trash from Rhino

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Sonic Grade: D

I’m embarrassed to say we used to like the Rhino Heavy Vinyl version, and in our defense let me tell you why: it was (for the most part) tonally correct, fairly low distortion, and had tight punchy bass.

Boy, was we wrong. Now it sounds positively CRUDE and UNPLEASANT next to the real thing — if by “the real thing” you mean an honest to goodness Hot Stamper copy. The average copy of this record is aggressive and unpleasant. The British pressings are mud. You either have to work very hard to find a good one (which means buying, cleaning and playing lots and lots of them), or you have to luck into a good one by accident.

 

Louis Armstrong – I’ve Got The World on a String on Classic Records Vinyl

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

Sonic Grade: B (probably)

I first heard this album on the wonderful Classic Records pressing from the ’90s. I remember really enjoying the music and liking the sound of Bernie Grundman’s remaster very much. We reviewed and recommended the album (along with Under the Stars) in our old paper catalogs.

 have no idea what I would think of their version these days — well, to be honest I do have some idea of what I would think of it — but their version is at least good enough to make the case that Russell Garcia’s orchestral arrangements and Louis Armstrong’s sublime skills interpreting The Great American Songbook are a match made in heaven.

You may have seen Russell Garcia’s name on one of the landmark recordings of the ’50s: Ella Fitzgerald and Louis Armstrong’s recording of Porgy and Bess for Verve in the previous year, 1959. Watch for copies coming to the site one of these days. We’ve discovered some exceptional original and reissue pressings (as well as some that really do a disservice to the music and the engineers who recorded it. What else is new in the world of records?).

Now all that remains is for us to track down enough clean copies with which to do the shootout. At the rate were going it may be a year or two, but having heard how good the music and sound can be on the best copies, we are on it!

1960 – What a Year

This ’60s LP (1960 to be exact) has the kind of Tubey Magical Midrange that modern pressings cannot BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).

The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real person singing live in your listening room. The best copies have an uncanny way of doing just that.

AMG 4 1/2 Star Rave Review

prime samplings from the autumn of Armstrong’s recording career. Even in the pressure cooker of a marathon session, even when confronted with standards not often associated with him, Armstrong finds the essence of each tune, bending and projecting them with his patented joie de vivre and gravel-voiced warmth every time. There are also lots of examples of his trumpet — pithy, soulful, belonging to no one else…

Peggy Lee – Latin ala Lee! – S&P (Reviewed in the ’00s)

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Not sure if we would still agree with what we wrote back in the 2003 when this record came out, but here it is anyway.

The Record of the Year for 2003. I know how crazy that sounds, but it’s true! If you don’t have a smile on your face fifteen seconds after playing track one, you better check your pulse, cuz, as the famous song has it: Jack, You Dead. Amazingly good sound, courtesy of a fabulous and painstakingly difficult remix by the mastering guru himself, Steve Hoffman. This is popular music for the previous generation — but why should we be denied these long forgotten treasures? (more…)

The Immortal Otis Redding

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  • An incredible sounding copy with a Triple Plus (A+++) side one and a Double Plus (A++) side two
  • This ’60s LP has the kind of Tubey Magical Midrange that modern pressings cannot BEGIN to reproduce
  • This vintage Plum and Tan label LP plays pretty darn quietly for an original Atco pressing – we’ve never heard one quieter
  • “…any Otis Redding recordings should be considered welcome (if not mandatory) additions to all manner of listeners.”

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real person singing live in your listening room. The best copies have an uncanny way of doing just that. (more…)

Ella Fitzgerald – Clap Hands, Here Comes Charlie – Our Favorite Female Vocal Album of All Time

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A distinguished member of the  Better Records Rock and Pop Hall of Fame.

The first “Triple Triple” MONO copy to ever hit the site — A+++ from start to finish. Our knockout mono pressing here was fuller, more natural and more involving than any copy we heard in our shootout. with immediacy to put Ella practically in the room with you, it’s her performance that really comes to life. It’s our single Favorite Female Vocal album here at Better Records, one that gets better with each passing year.

Check out what the lucky owner of this copy had to say about it.

PR Writes

As you probably know, I own superb copies of the stereo. They both fade into pastel in comparison with this mono. (more…)

The Rolling Stones – Beggars Banquet – Critical Listening Exercise

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Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF).

Want a good test for Transparency and Resolution? Try this one. There is a sound on this album’s side one that’s unlike any I can recall hearing before. Listen to No Expectations and see if you don’t hear something quite strange going on in the general area of the left rear of the studio. It took me a while to figure out what it was, and on the bad British pressings and all of the domestic copies you can hardly hear it all. 

You should be able to hear it provided:

  • You have a good copy of the record.
  • You cleaned it properly.
  • You played it on high quality equipment in a good room, and
  • You listened to it critically.

You really need all four. It’s what this commentary is all about. (more…)

Chopin – Fantasy-Impromptu and More with Philippe Entremont

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

The subtitle of the album reads Philippe Entremont Plays Best-Loved Piano Pieces.

After hearing this one as well as another exceptionally good sounding copy, we would like to amend that to Philippe Entremont Plays the Hell Out of These Best-Loved Piano Pieces.

Truly this is an undiscovered gem from Columbia in 1966. (more…)

Court and Spark – Joni’s Best Sounding Record

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  • A stunning sounding copy with Triple Plus (A+++) sound or close to it on both sides!
  • The sound is rich, warm and natural with wonderful transparency, ambience and loads of Tubey Magic
  • One of our very favorite Joni albums here at Better Records, and probably her Best Sounding Album
  • “[A] remarkably deft fusion of folk, pop, and jazz … the music is smart, smooth, and assured from the first note to the last.” – AMG 5 Stars

Stunning sound for this White Hot Stamper! Court and Spark deserves to be heard with all the clarity, beauty and power that only the best Hot Stamper pressings can convey.

What you hear is the sound of the real tape; every instrument has its own character, because the mastering is correct and the vinyl — against all odds — managed to capture all (or almost all; who can know?) of the resolution that the tape had to offer.

Tubey Magic Is the Key to Court and Spark (more…)